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by David S. Cohen
When movie executives unfolded their morning papers on Friday,
February 5, they found the headline many of them had fought
to ensure the world would never see. There it was, though,
right on the front page, enraging more than a few studio
executives. Over thirty of the industry's most accomplished
screenwriters had persuaded Sony Pictures/Columbia TriStar
to pay gross points not just to themselves, but to any writer
who met certain pre-defined qualifications. Find out how
this could be of benefit to writers who have toiled for years
just to be recognized as the people who really make the film
happen.
by Marc Scott Zicree
One freelance writer provides a handbook to getting the most
out of a trip to NATPE (National Association of Television
Program Executives), and how to use the contacts you make
to further your writing career.
by David S. Cohen
There's no polite way to say it: Warren Adler's 1984 book
Random Hearts is the kind of book that turns up
on the bargain table at your neighborhood library's yard
sale––and
doesn't sell. Yet somehow Random Hearts, the minor
novel, has inspired Random Hearts the "major
motion picture." Find
out how Kurt Luedtke and Sydney Pollack took the book from
script to screen.
by John Kim
If film begins from the printed page, then these individuals
are all, within their own circles, the hope and promise of
the film world's future. scr(i)pt speaks with some of the
most unique, talented, and sought after new screenwriters
in the film world today.
by David Hines
You want to be a screenwriter, huh? Unfortunately you don't
live near Hollywood, the only "agent" you have
access to wants to sell you life insurance. How's an aspiring
writer supposed to get a break? Have you ever considered
the Internet?
by Marie-Eve S. Kielson and Sara C. Caldwell
Find out how to maintain your integrity and individual style
with a writing partner, and get the most out of a collaborative
effort.
by William C. Martell
Screenwriting is a very delicate balancing act. How much
description is too much or too little? Learn how to handle
details.
by Rich Whiteside
In Part Two of this series, Robert McKee and Syd Field show
that more than ever before, stories that fall outside narrow
Hollywood norms are drawing large, worldwide audiences. But
you still can't use this as an excuse to dodge a mastery
of classic structure.
by Christiana Miller
This married team with credits such as Spiderman, Winnie
the Pooh, Beetlejuice and Young
Hercules discuss the differences
in writing for cartoon characters and live-action young adult
fare.
by John Scott Lewinski
In this issue, we examine three unique story-building programs:
Writer's Blocks, Write Pro and StoryVision for how they can
help writers develop better stories.
by Richard W. Krevolin
Screenplay structure is a subject of great debate in film
circles. But what about scene structure? Take a closer look
at what elements go into a great scene.
by Sally B. Merlin
Will the crème de la crème of today's screenwriters
really find the pot of gold in the recent landmark deal with
Sony Pictures/Columbia TriStar Pictures? Only time will tell.
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